A few months ago, news and early samples of a new and exciting beverage hit Twitter and eBay. Hi-C’s Ecto Cooler was a green citrus-flavored beverage and a tie-in for the Ghostbusters franchise. The beverage was so popular that it outlasted the TV cartoon series it was originally meant to promote by ten years. With a new live-action Ghostbusters movie due out this summer and levels of ’90s nostalgia peaking, Ecto Cooler is returning to store shelves.

Like Surge and Strawberry Honeycomb, part of the reason for the brand’s resurrection is simply that the people who grew up with it are young adults with disposable income, a demographic whose consumption of soft drinks and juice-flavored high-fructose corn syrup waters is generally falling.

The new Ghostbusters movie hits theaters on July 15, and Coca-Cola announced that it’s putting out the drink on May 30. In its announcement, the company says that pressure came from very different groups with some common interests: nostalgia-filled social media users and the people in charge of marketing the new Ghostbusters movie.

The drink will not come in the classic metal cans that must be punctured on the top, but in six-ounce juice boxes and 11.5-ounce metal cans. (Not 12 ounces? It must be the Ectoplasm Shrink Ray.)

Slime-Green Goodness: Hi-C Ecto Cooler Returns Ahead of Ghostbusters Remake [Coca-Cola]
Ecto Cooler [Official Site]

No, this isn't a trick of Photoshop. Nor is it the world's nastiest spite house; rather, this bonafide half-home shares more with its nail house brethren after witnessing a history of blight and zoning changes.

The lone row home at 54 1/2 Saint Patrick Street dates back to Toronto's slums in the late 19th century. Built somewhere between 1890 and 1893, this bay-and-gable relic from a bygone era once was a one of six identical, structurally intertwined homes on what was then known as Dummer Street. 

Time passed, the street names changed, and a particularly sharky land holdings company began buying up property throughout the neighborhood in the middle of the 20th century. Eventually, the owners of the row houses caved, but not as a unit. Each half of the row houses' wholes were torn down at an excruciatingly slow pace… until 54 1/2 was remained the only one left. 

This begs the question: how does half a building cleave away so cleanly only to leave the rest of it standing?

Very carefully. In a miraculous feat performed with clumsy and powerful machinery, a demolition crew managed to tear down 54 1/2's neighbor to the north with such precision as to not disturb any of the original facade on the the building that was to remain. The white, exterior wall had once been a load-bearing wall hidden internally to divide the neighbors' bedrooms and living rooms from each other. One slip with an excavator and the half-house would have come tumbling down. 

As of 2013, the house was reported to be privately owned and vacant. As it begins to show signs of wear, its status as last bastion of the neighborhood's less pleasant days are beginning show on its craggy, half-face. Then again, if any house has earned its character, it's this one. 

Separating the intent of the artist from the meaning which is gleaned by an observer is an important step in appreciating any art. So whether or not Antony Gormley meant for his giant metal sculpture, Exposure, to look like a huge man doing a number two, it totally does.

Unveiled in 2010, the giant sculpture took six long years to create due to multiple funding and manufacturing problems. The basic form of the sculpture is of a crouching man, which was modeled after Gormley himself who was cast in the position to get it just right. The overall shape is evident from afar, but as you get closer, it begins to lose its continuity as it's true form reveals itself. The 85-foot tall figure is actually made of some 2,000 girders of differing length, roughly bolted together with over 5,400 bolts. The girders were each hand cut in a sort of ordered chaos that keeps the work from finding any symmetry.  The closer one gets to the statue, the more it simply looks like a jumble of metal beams.

Exposure is permanently rotted in the middle of a long sliver of land (a polder, which is a Netherlandish term for a small spit of land that is being overtaken by surrounding water), and according to Gormley's website, it is meant top stay there even if global warming forces the water to rise and cover the polder. This permanence is itself part of the piece.

But all of that aside, Exposure most definitely resembles a giant figure squatting to poop. This is so apparent that the locals have taken to calling the work, "The Shitting Man." No matter what you take away from the piece, Exposure is definitely a site to behold.  

Benicio del Toro (and Lloyd Kaufman) join the ever-expanding cast of Guardians of the Galaxy. Check out a 13-minute Man of Steel featurette while Henry Cavill and Hugh Jackman discuss their superhero futures. Joss Whedon shares some hints for Agents of S.H.I.E.L.D. Plus the latest World War Z and Pacific Rim videos! Spoilers!

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Three years ago, something rather cataclysmic happened to this asteroid. Whatever it was — and it was probably a collision with a smaller asteroid — has now resulted in an exceptionally long debris tail that just keeps getting longer.

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